Tiger's Eye

Life of Pi is a magical adventure story whose narrator claims it will “make you believe in God.” “Impossible!” you might say. “That’s utterly irrational!” Right? Well — just you wait. The main character’s name is Pi, after all . . .

The film is framed as a story within a story within a story. The external frame involves a Canadian author with writer’s block who has come to India looking for a story. The middle story involves a young Indian boy (Suraj Sharma) with the unlikely name of “Piscine” (“swimming pool”). Piscine endures the taunts of schoolmates who pronounce the name as “pissing” until he proactively redefines himself as “Pi” through a series of remarkable classroom calisthenics. Pi, of course, is the irrational number, and that is significant for a boy who is going to defy rationality by making you believe in God.

Pi’s parents own a zoo, and when they decide to move from India to Canada, they secure passage on a cargo boat and take the animals with them. This introduces the central story, which involves Pi’s adventures when the ship sinks during a storm. Pi ends up sharing a lifeboat with the zoo’s tiger. How Pi manages to do this without becoming the tiger’s dinner is pretty astounding. His resourcefulness, imagination, and determination to survive dominate this part of the film.

Even more astounding than Pi’s relationship with the tiger is the film’s cinematography. With a vast ocean as his canvas, director Ang Lee paints gorgeous pictures on film. Reflection and illusion are important both artistically and metaphorically, and Lee takes full advantage of both. It is often difficult to see where the water ends and the sky begins, as stars, clouds and sunsets are reflected off the sea. Often we discover that we are viewing the story through water — water so clear that we don’t even see it until something moves and creates ripples that distort our view. Significantly, it is the real view that seems distorted, and the illusion that seems real. Pi’s internal reflection about his plight is just as powerful, and the metaphors in this film give it a satisfying gravitas beyond the simple plot.

The film begins with long, languorous shots of beautiful exotic animals in vivid jungle scenes; Lee is in no hurry to get to the crux of the story. He has all the time in the world for storytelling — as, of course, does the shipwrecked Pi. In fact, “singing songs and telling stories” is one of the “guidelines for survival” that Pi finds in the lifeboat’s survival kit. And so he creates his story during more than three months adrift in the ocean. He creates a system for gathering dew that he and the tiger drink during the day. He devises a net for catching fish, and when he isn’t able to catch enough to satisfy the tiger’s hunger, flying fish appear like manna from heaven.

The storm and shipwreck scenes are so astounding that I literally starting feeling seasick as I watched it. (Maybe the 3D version wasn’t such a good choice . . .) As Pi struggles to come to the surface of the water, he is surrounded by sharks that he apparently does not see. That seems to be a metaphor as well. Even the “clear water” and the idea that one can believe in many religions at once seemed like a veiled reference to Hollywood’s favorite religion, Scientology. In short, the film is fairly dripping with metaphor, illusion, and allusion.

Although this is a film that purports to make you believe in God, it is not a religious film. Only the first few minutes are devoted to Pi’s religious awakening. Pi is a Hindu who discovers Christianity at the age of 12 when a priest gives him water for his thirst. (Yes, this is another allusion to water.) He says that he “found God’s love through Christ.” But he also earnestly embraces Islam and says that “the sound and feel of the words of the prayers to Allah gave peace and serenity.” Pi’s father tells him, “Believing in everything is the same as believing in nothing.” But his mother counters with “Science can teach us more about what is out there, but not about what is in here,” touching her chest. Pi concludes that “faith is a house with many rooms” and that “you cannot know the strength of your faith without its being tested.”

If this sounds like a bunch of religious mumbo-jumbo to you, don’t let it keep you from seeing this film. You don’t have to be a Christian to appreciate a Renaissance painting, and you don’t have to be looking for proof of God’s existence to enjoy this film. Life of Pi is a stunning work of art, whether you buy the premise of believing in God or not.

Ultimately, faith is a choice. Evidence is all around us, but we choose whether to see the reality or the distortion. We choose how to write our own stories. If there is any message to this film, that’s it. And it’s a pretty satisfying message.

About this Author

Jo Ann Skousen teaches classic mythology and Bible literature at Chapman University. She is the entertainment editor for Liberty and founding director of the Anthem Libertarian Film Festival at FreedomFest, which she co-produces with her husband, Mark Skousen. Her recent book, Matriarchs of the Messiah: Valiant Women in the Lineage of Jesus Christ, offers a bold new look at women in the Bible.